de anti-mediator

[Henk Elegeert]

REPLY TO: D66 at nic.surfnet.nl

Op 29 januari 2010 19:26 heeft Antid Oto <aorta at home.nl> het volgende
geschreven:
> REPLY TO: D66 at nic.surfnet.nl
>
> Met huwelijksbemiddeling heb ik niet zoveel problemen, omdat dat
> meestal een vrijwillige verbintenis betreft.

Communist die blind is voor de grauwe werkelijkheid. Eerder deze week
hier nog melding van gemaakt.

> Met mediation in
> arbeidsconflicten des te meer, omdat de arbeidsverbintenis een
> systeemhuwelijk is van het kapitalisme.

Zucht ... de vampire

> De bourgeois mediator

Die wie? :))

>  speelt hierin een verderfelijke historische rol,
> door de klassenstrijd te sussen voor eigen profijt.

Projecties van een dolgedraaide communist? Werkelijk niets menselijks ..

> De bourgeois
> mediator

Daar heb je em weer: de projectie van een communistische onderdrukte
!! Gebruikt diens eigen projectie om diens lijden zin te geven.

> maakt daarbij gebruik van anti-marxistische,
> anti-revolutionaire tactieken.

Geleuterrrr ... zoek eens een lijst op waar ze dergelijke pulp slikken
als zoete koek !!?? Jeetje ...

> Daarom is de rol van de proletarische
> anti-mediator zo belangrijk.

Om den projectie van den communist gestalte te geven? !!

> Hij coördineert stakingen, bezettingen en
> stelt de macht van de kapitalist ter discussie.

De 'macht' van den kapitalist?? Een list van den communist,kortom ...

> Who's the boss.

Den achterlijken communist? Die ziet de wereld immers als een
kapitalistisch bolwerk dat vernietigd moet worden.
Enfin: Wat voor gr/christen geldt kan ook even zo goed den communist
gelden, want ook diens wereldbeeld kent immers slechts het 'goede en
het kwade'.

"
The Christian symbolism in Daybreakers.

Daybreakers, the new science-fiction/horror film by the Spierig
brothers, drips with social commentary as well as gore. It is 2019 and
95% of Americans have become vampires. In this futuristic world
traffic signs read, "School Zone 2 a.m.-3 a.m.," bloody coffee can be
purchased at Starbucks, and LCD displays are used as vanity mirrors
for those who cast no reflection. Humanity has seemingly conquered
death, as vampires are impervious to disease or aging.

Non-vampires are captured by the military, turned over to the
Bromley-Marks corporation, and farmed for their blood. But the
dwindling population of normal humans can no longer support the
ever-growing vampire majority. To make matters worse, blood
deprivation causes vampires to degenerate into "subsiders"—hideous
bat-like monsters.

Edward Dalton (Ethan Hawke) is a scrupulous vampire hematologist,
working for Bromley-Marks to create a blood substitute for the vampire
population. However, the company only seeks to prop up the status quo
and has no intention of giving up its monopoly trading in human blood.
Dalton becomes a renegade after meeting Lionel "Elvis" Cormac (Willem
Dafoe), who has discovered a cure for vampirism, which would destroy
the corporate power structure, leading to a deadly struggle for the
fate of the human race.

While Hawke described Daybreakers as "completely unpretentious and
silly," it can be read as an allegory for a number of social issues.
The new society that has seemingly transcended mortality is actually
unsustainable and built upon a foundation of human suffering. The
blood shortage seems an obvious reference to fears about oil depletion
and projected shortages of potable water, while images of American
soldiers sporting fangs and glowing eyes may be a critique of US
imperialism.

The plight of the mutated subsiders bears a strange resemblance to the
current debate over health care. Because wealthy vampires can afford
enough blood to stay healthy, it is only the poor who sicken and
become ravening monsters. As the blood crisis worsens, the government
can no longer justify giving blood rations to maintain the subsiders.
The solution is to literally kill the poor. A scene in which the
military drags columns of wretched, impoverished vampires into the sun
was strangely reminiscent of Congressman Alan Grayson’s accusation
that the Republican health care plan was to "die quickly."

This take on vampirism is hardly original. Vampires have been
synonymous with the evils of capitalism for over three hundred years.
In fact, the oldest use of the word "vampire" in English appears in a
text from 1688 that describes a group of traders as "Vampires of the
Publick." Two hundred years later, Karl Marx compared capitalism to
vampirism in Das Kapital. Corporate power structures have also played
a strong role in modern vampire films like Blade (1998) and
Ultraviolet (2006).

What is original about Daybreakers is how the vampire society is
undone. While the film does feature human guerillas armed with
crossbows, the world is redeemed not by the martial prowess of vampire
slayers, but by the moral strength of the vampires themselves. This
aspect of the plot, combined with the tropes of blood drinking, death,
and immortality endemic to the genre, made for a surprisingly
Christian message about martyrdom and social justice.

The idea that a single person can cure a world of vampires by sharing
their blood first appeared in Richard Mattheson’s novel I Am Legend
(1954). This story took on obvious Christ-like imagery when it was
adapted into Omega Man (1971). In this film, Charlton Heston’s
character is killed with a spear so that his blood might redeem
mankind. The Spierig Brothers chose to skirt direct Christian
iconography in favor of a more neutral image of death and rebirth.
According to Hawke, the brothers see the journey of the protagonists
as "the phoenix story." Elvis, the first vampire to regain his
humanity, drives a firebird stenciled with the words "from the ashes
springs new life."

Still, Christian themes of martyrdom and communion permeate the story.
Restoring a vampire’s mortality can only be accomplished through a
tremendously painful ordeal. However, the characters learn that
drinking the blood of a redeemed vampire is itself a cure for
vampirism, allowing them to "bless those who persecute them." In one
of the most violent scenes in the film, a redeemed vampire throws
himself to a mob of bloodthirsty soldiers as an act of martyrdom. In a
sort of gory communion, his death causes the soldiers feasting on his
blood to become human. These converted soldiers are themselves
descended on and devoured by their vampire comrades.

This cycle creates a kind of chain reaction as wave after wave of
soldiers are restored to humanity and then dismembered. Of course,
this scene can be read simply as the grim and silly logic of horror
movies. But it also seems indebted to a Christian tradition of
conversion and martyrdom going back to the days of the early church.
The soldiers who hunt humanity become human themselves, die, and
spread this condition to others. Ultimately, the film's title seems to
refer to the heroes' ability to transform themselves and thereby to
transform society. Even if we are part of a vampiric society, as long
as we have the ability to see the world through the eyes of those we
prey on, redemption is still possible.
"

Henk Elegeert

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